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This paper aims to attempt to provide an overview of the copyright legal framework for audiovisual resources in Europe and Greece, how Audiovisual (AV) content is currently licensed by Greek providers and how licenses or copyright exceptions enable its reuse. The motivation for this work was the development of an aggregation service for audiovisual resources in Greece, the Open AudioVisual Archives (OAVA) platform.

Copyright licenses and exceptions in the European Union and in Greek Legislation have been thoroughly reviewed along with the reuse of content, based on the terms of Fair Use, Rights Statements and Creative Commons. Licensing issues for the most well-known aggregation services, such as Europeana, Digital Public Library of America, Trove, Digital New Zealand and the National Digital Library of India, have also been studied and considered. Audiovisual content providers in Greece have been recorded, and their licensing preferences have been analyzed. Pearson’s chi-square test was applied to test the relationship between the provider’s type, resources’ genre and licenses used.

Despite the abundance of copyright legislation in the European Union and in Greece, audiovisual content providers in Greece seem to ignore it or find it difficult to choose the right license. More than half of them choose to publish their resources on popular audiovisual platforms using the default licensing option provided. Creative Commons licenses are preferred for audiovisual content that falls into the following categories: open courses (almost exclusively) and interviews and digital collection/research projects (about half of the content).

This paper examines audiovisual content aggregation, in the EU and Greece, from a legal point of view. To the best of the authors’ knowledge, it is the first attempt to record and analyze the licensing preferences of Greek AV content providers.

A survey was carried out in 1979 into the loan availability and provision of audiovisual materials in the United Kingdom, whether through the Regional Library Bureaux or through separate co‐operative arrangements such as the Greater London Audio Specialization Scheme. Interlending practices are seen in relation to basic audiovisual provision and demand in public and educational libraries. The effects of inadequate bibliographical control, copyright problems and the practical aspects of the inter/ending of audiovisual materials are discussed. The results of the enquiry indicate limited provision, small demand and a widespread lack of knowledge concerning the existence of audiovisual materials and their availability.

The purpose of this paper is to examine the provision of audiovisual materials in UK public libraries and their economic value.

A questionnaire survey of all the public library authorities in the UK was used to investigate current provision of audiovisual material, expected future provision, and the amounts spent on and generated by audiovisual collections. Data collected, together with those available from other reputable sources, were then used to estimate the cost benefit or value of audiovisual provision.

The provision of audiovisual material in UK public libraries is widespread and varied. While audiovisual collections provide economic value and generate income from charging for loans, there are significant costs inherent in providing such services. Concerns are raised about the constant developments in media formats and the ability to make adequate provision. A cost benefit of 1:1.34 using the PVB (present value benefits) based on maximum loan charges was found, meaning that the UK gets £1.34 direct benefit from every £1.00 spent on the audiovisual service.

There are different methods used by economists to estimate value of public services, all having limitations. The method used in this research is no exception. The cost‐benefit ratio found is based on maximum loan charges. However, this figure would be higher if the PVB had been based on purchase costs or lower if the PVB had been based on mean loan charges. Further, the figures do not include indirect benefits or option benefits, so are likely to be underestimates of the true cost benefit of the audiovisual service.

This research is likely to be of interest to public library managers and funding bodies needing evidence for the value of audiovisual provision.

This is the first attempt to put a monetary value on audiovisual provision in the UK. It also provides insights into current and future audiovisual provision.

This paper aims to take, as a starting point, the contribution of audiovisual documentation to TV news programs, the impact of digitalisation in the organisation and design of audiovisual documentation's services is analysed.

Data, collected by a quantitative and qualitative research on: the use of audiovisual documentation in the news, documentation requests processed by journalists, and the study of the operation of documentation services of six TV stations, serve as a basis to analyse the factors that must be taken into account when it comes to designing query systems of digital audiovisual documentation, so that these systems meet the needs of journalists and can be used with satisfactory results by the users.

Audio‐visual documentation is one of the constituent elements of TV information on current events, as much for its quantitative presence (40 percent of the news) as for its qualitative contribution to news messages, as well as for its general use in all the news sections. Audiovisual documentation has a greater presence in important news, and can carry out informative, completive or illustrative functions. News programs use the audiovisual documentation that these same programs have generated, using it mainly as a purely visual documentation. In documentation services, the journalist asks mainly for people's images and, to a lesser extent, formal groups and the news. A second group of categories collects around 10 percent of requests: places, animal‐thing, natural phenomena, informal group; while the remaining categories (concept and work) have a marginal incidence. The analysis of documentation use in the news, as well as of the content of requests made by the journalists, offers important clues when it come to designing documentary information systems, specially regarding the analysis of audiovisual douments and databases' query, used directly by the end user.

Collected data regarding analogue TV are used to make forecasts about what should be documentation in digital TV.

The detailed analysis of the use of audiovisual documentation in the news, as well as of the requests made by the journalists to documentation services, constitutes an important guide when it comes to successfully designing the new digital systems of audiovisual documentation.

The purpose of this paper is to analyze how the audiovisual teaching aids are applied in the modern educational environment and to assess their application efficiency in the context of the secondary-level vocational education establishments.

A pedagogical experiment was conducted to confirm this hypothesis. At the preparatory stage, the authors have analyzed the teaching and learning process, as well as students learning at the secondary-level vocational education establishment. Statistical sample was 300 people.

Based on the research results, main mistakes made while applying the audiovisual teaching aids were identified, formulated and investigated. These mistakes were related to the insufficient methodological preparation. As these mistakes were eliminated, student achievements and learning skills have increased by 15–20 percent (experiment data). The average marks, obtained by students before and after eliminating the methodological mistakes, were taken in points (from 2 to 5) as achievement and learning skill criteria. Research conclusion is that audiovisual aids application quality can be improved only through the research on students’ educational and creative potential, their perception of various learning materials, and their preferences in the information structure, composition, types and forms.

Applying audiovisual teaching aids in the learning process is a challenge. This paper is driven by the need of new unique methods for applying audiovisual aids related to identifying the optimal temporal lesson structure, as well as the composition and the amount of auxiliary teaching materials, interactive communication level and ways to stimulate the emotional and creative activity of students.

In addition to providing a review of the literature recently published in the librarianship of non‐book materials this survey aims to draw attention to the characteristics, problems and achievements particular to the documentation and handling of non‐book materials (NBM) in many types of libraries. The materials are briefly described and considerations of selection, acquisition, organization, storage and in particular bibliographic control are dealt with in some detail. Other areas of concern to the librarian dealing with media resources, including the organization and training of staff, planning, equipment, exploitation and copyright, are also discussed. The past decade has seen the widespread introduction of NBM into libraries as additional or alternative sources of information. Librarians have been given an opportunity to rethink many basic principles and adapt existing practice to encompass the new materials. The survey reflects the achievements and some of the failures or problems remaining to be solved in this rapidly expanding area of library work.

Although numerous signal modalities are available for emotion recognition, audio and visual modalities are the most common and predominant forms for human beings to express their emotional states in daily communication. Therefore, how to achieve automatic and accurate audiovisual emotion recognition is significantly important for developing engaging and empathetic human–computer interaction environment. However, two major challenges exist in the field of audiovisual emotion recognition: (1) how to effectively capture representations of each single modality and eliminate redundant features and (2) how to efficiently integrate information from these two modalities to generate discriminative representations.

A novel key-frame extraction-based attention fusion network (KE-AFN) is proposed for audiovisual emotion recognition. KE-AFN attempts to integrate key-frame extraction with multimodal interaction and fusion to enhance audiovisual representations and reduce redundant computation, filling the research gaps of existing approaches. Specifically, the local maximum–based content analysis is designed to extract key-frames from videos for the purpose of eliminating data redundancy. Two modules, including “Multi-head Attention-based Intra-modality Interaction Module” and “Multi-head Attention-based Cross-modality Interaction Module”, are proposed to mine and capture intra- and cross-modality interactions for further reducing data redundancy and producing more powerful multimodal representations.

Extensive experiments on two benchmark datasets (i.e. RAVDESS and CMU-MOSEI) demonstrate the effectiveness and rationality of KE-AFN. Specifically, (1) KE-AFN is superior to state-of-the-art baselines for audiovisual emotion recognition. (2) Exploring the supplementary and complementary information of different modalities can provide more emotional clues for better emotion recognition. (3) The proposed key-frame extraction strategy can enhance the performance by more than 2.79 per cent on accuracy. (4) Both exploring intra- and cross-modality interactions and employing attention-based audiovisual fusion can lead to better prediction performance.

The proposed KE-AFN can support the development of engaging and empathetic human–computer interaction environment.

The authors aim to explore whether and how variations on pitch levels of background music in audiovisual commercials affect consumers' judgments of the competence of the advertised brands and for which group of consumers such changes in ad backgrounds are more influential.

Consumers are presented with an audiovisual advertisement in which the pitch of background music is lowered or raised. They are subsequently asked to evaluate the music and traits of the advertised brand and indicate their predisposed styles of thinking.

Consumers tend to judge a brand in an audiovisual commercial as possessing a higher level of competence traits when the brand is accompanied by lower-pitched (vs higher-pitched) background music, which is mediated by levels of powerfulness they perceive from the background music. Consumers with holistic (vs analytic) thinking styles, who are known to devote more focused attention to background information, tend to be more (vs less) susceptible to the changes in pitch.

The current research approaches thinking styles as predisposed individual differences as in prior works in marketing. Provided that the predisposed thinking styles can be influenced by individuals' cultural backgrounds, the authors suggest cross-cultural studies as an approach to further validate the present findings.

Given the recent trends that consumers are increasingly exposed to audiovisual ads with the rapid growth of various video-based platforms (e.g. YouTube) and mobile advertising, this empirical study may assist contemporary marketers in considering an acoustic strategy for brand communication using the audiovisual advertisement. This study suggests that the pitch of ad background music can serve as a manageable strategic tool that can assist in establishing an image of a competent brand.

This research highlights a seemingly-trivial element in audiovisual advertisements, the pitch of background music, as a crucial determinant of the perceived competence of an advertised brand upon which further brand evaluations (e.g. brand trust, purchase intention) are based. An important yet overlooked effect of ad recipients' predisposed thinking styles on how consumers respond to the changes of background cues in audiovisual commercials is also proposed.

Audiovisual works – especially cinematographic works – are at the heart of the changes resulting from the development of the information society. Media convergence radically changed the way traditional audiovisual content is produced, distributed, consumed and eventually archived. Film producers slowly started to experiment with new ways of digital production such as the shortening of release windows to favor new on demand services. How does this translate to European film policy? Due to the unique double nature of cinematographic works which are both economic and cultural goods at the same time, the European film policy is at the crossing point of media, culture, competition and heritage. This paper seeks to address these issues.

In this research paper the authors assessed to what extent the adoption of digital technologies is stimulated throughout the value chain of film making and more precisely to what degree the distribution of a European culturally diverse catalogue of films is encouraged.

For the first time in history, European producers have the tools at their disposal to collaborate, promote and distribute internationally, at lower transaction costs and at a higher speed, and to look beyond their national market. The fast‐evolving technological developments provided the European legislator with the opportunity to strengthen and support the promotion of the European cultural identity in all its diversity. But is this also reflected in the current legislative framework? It is clear that different hurdles still need to be tackled.

In this research paper an overview is given of the regulatory steps that have been taken so far in the field of European film policy to stimulate the digital production and distribution of European film productions. In the context of new unfolding alliances between stakeholders and experiments with premium video‐on‐demand or shorter cinema release windows, the relevance of digital production and distribution schemes can no longer be neglected. The emergence of web‐based services including cloud computing is likely to accelerate this trend.

The aim of the present study is to reflect upon the use of digital audiovisual content for the marketing of cultural events in the relative organisations and foundations during the turbulent times of the COVID-19 pandemic by conveying experts' interviews. The main question that the study seeks to touch upon is whether the digital audiovisual techniques implemented by cultural foundations and festivals in Greece during the COVID-19 pandemic were efficient in promoting artwork and stressing on social presence and whether their marketing and distributing processes of the artistic and cultural products manage to attract audience engagement and further enhance the foundations' brand. What the research seeks to examine is issues such as digital content creation, arts marketing, use of digital media and new technologies, brand identity and strategy building. Particular digital campaigns of foundations will be reviewed from a closer focus.

The qualitative research is based on experts' interviews. The primary foundations that are in focus are the organisations of Thessaloniki International Film Festival (TIFF), Dimitria Festival in Thessaloniki, Greece and a major cultural foundation in Athens, Greece the Onassis Foundation.

A proper combination of interesting audiovisual content and precise brand aspirations in terms of identity and vision are what will lead a foundation to the audience it desires. Adaptability is the element that defined the foundations in the turbulence of the times of a pandemic, and creativity is what made some foundations differentiate themselves from others. The digitization that the pandemic brought can be considered as a positive dimension as well, since foundations can combine digital and physical spectacles in the near future so that they can always be relevant.

This study identifies certain limitations that could be investigated by future research, the main one being the small number of the organisations and foundations under research and the limited number of interviewees. Furthermore, the fact that the research was performed in cultural institutions and that audiovisual features were integral in the artwork they serve could be considered as a limitation.

The originality of this research lies in the examination and registration of the implementation of innovative digital audiovisual techniques by cultural foundations in Greece to reach their audience during the COVID-19 pandemic.